Tenor Zach Borichevsky is “equipped with a flexible, bright voice that already has made him one of the most sought-after singers of his generation.” Mr. Borichevsky is known as a “star-level tenor” with a “precise, nuanced high-register singing and agile acting”, paired with a “magical sense of complete spontaneity that comes from being in total command of the instrument.” A series of significant débuts have established Mr. Borichevsky as one of the most thrilling vocal talents to appear on the international stage; he has created widely celebrated international performances in roles such as Rodolfo in La bohème with Finnish National Opera, Romeo in Roméo et Juliette for Teatro Municipal de Santiago in Chile, and Alfredo in La traviata for the Glyndebourne Festival.
Last season, Borichevsky made two last-minute jump-ins: as Edgardo in Lucia di Lammermoor with Opéra Nice Côte d’Azur and in the title role of Faust for Detroit Opera. Of the latter, OperaWire wrote “Borichevsky revealed himself to be a masterful and technically competent lyric tenor with an innate cut and ring… [he] delighted and captivated the audience with his presence.” In addition, Borichevsky reprised his honed performance of Rodolfo in Nashville Opera’s La bohème, sang Messa di Gloria for Toledo Symphony, performed the Duke in Rigoletto with the Rochester Philharmonic, and returned to Aspen Music Festival for Berlioz’s Requiem. This season, he joins the Metropolitan Opera to cover Rodolfo in La bohème and Roméo in Roméo et Juliette. Additionally, he takes his Roméo to Toledo Opera and sings Cavaradossi in Tosca with Dayton Opera. [read more...]
"... masterful…” – OperaWire
Faust– “Borichevsky revealed himself to be a masterful and technically competent lyric tenor with an innate cut and ring despite the role’s required forays into the dramatic territory. From the moment he began to the moment of his inevitable damnation, Faust’s corrupted goodness was invoked in Borichevsky’s consistent spinning tunefulness and equipoised registrar movements. Loosening control during moments of extreme passion and experiential climax, Borichevsky delighted and captivated the audience with his presence.”
“…ringing tenor full of pathos…” – The Post and Courier
Salome – “Zach Borichevsky, who played the heartsick Narraboth, writhed appropriately and possessed a ringing tenor voice full of pathos”
"...consistently strong and richly varied..." – Zebra
Verdi's Requiem – "The two men brought great excitement to their roles and performances, especially tenor Zach Borichevsky, whose consistently strong and richly varied, impressive sound could, I'm sure, be heard throughout the house."
"...one of the most sought-after singers of his generation..." – Seen and Heard International
La bohème – “Zach Borichevsky’s Rodolfo, tall, lean, good-looking was a Rodolfo of one’s dreams, equipped with a flexible, bright voice that already has made him one of the most sought-after singers of his generation. His pianissimos should teach many a can belto tenor a lesson.”
"...the star of the premiere..." – Helsingan Sanomat
La bohème – “Borichevsky was the star of the premiere – a grander and more romantic-looking Rodolfo would be hard to find. The tall young man has a clear natural tenor voice, which rises high with unforced buoyancy. His beautiful lyric sound is a sleek metallic splendor. He will soon rise to the top of the international opera world.”
"...in total command of the instrument...” – What’s On Stage
La traviata – “The revelation, though, was the young American tenor Zach Borichevsky, who made an astonishingly assured company (and indeed UK) debut as Alfredo. Packing a distinctively dark-coloured, fluent lyric tenor, he turned in a performance that was not only technically flawless but also had that magical sense of complete spontaneity that comes from being in total command of the instrument.”
"...an exciting sound..." – Opera Today
Roméo et Juliette – “Tall and slim with an exciting sound to his tenor voice, Borichevsky was perfect for [Roméo].”